TACTICAL 
2. ARTISTIC 

BASKETRY 





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Lau r a Rollins Tinsley 




Class 
Book 



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Copyright^ . 



COPYRIGHT DEPOSIT. 



i 



PRACTICAL AND ARTISTIC 



BASKETET 



BY 

Mrs. LAURA ROLLINS TINSLEY 

Formerly Principal in the Minneapolis Schools 




NEW YORK AND CHICAGO 

E. L. KELLOGG & CO. 



LIBRARY of CONGRESS 
Two C«pies Received 

JAN 23 1904 

Copyright Entry 
CLASS « XXc. No. 

; c / a a. i 

COPY B 






v 



Copyright, 1904, by 

E. L. KELLOGG & CO. 



New York 



</■ 



- 



Contents, 



PAGE 

Foreword 5 

CHAPTKR. 

I. Introduction 11 

II. Materials 15 

III. Rattan Weaving 24 

IV. Eattan Mats 30 

V. Borders 37 

VI. Eattan Baskets 41 

VII. Handles, Covers, Hinges, and Fastenings 47 

VIII. Native Willow Baskets 52 

IX. Articles made of Eaffia 60 

X. General Directions 68 

XI. Knot or Lace Stitch 73 

XII. Navaho Weave 81 

XIII. Flat Eattan 84 

XIV. Soft Coil 92 

XV. Button-hole Stitch 98 

XVI. Strap Stitch , 101 

XVII. Whip Stitch 103 

XVIII. Porno Stitch 105 

XIX. Baskets made of Flats 108 

XX. Articles made of Corn Husks 117 

XXI. Basket Work Graded for Use in Schools 120 

XXII. Coloring 126 

XXIII. Cord Work 130 

3 



THIS BOOK IS DEDICATED TO THE 
PATRONS OF THE LOWELL SCHOOL, 
MINNEAPOLIS, IN APPRECIATION OF 
THEIR LOYALTY AND THEIR HAR- 
MONIOUS COOPERATION DURING MY 
ASSOCIATION WITH THEM. 



Basketry in the Public Schools. 



FOREWORD. 



"Ornamental learning is a thing of the past 
and industrial and practical development is 
taking its place." 

It is not the purpose of the author to discuss 
the advisability of giving to every child an op- 
portunity to unfold the mental, moral, and 
physical faculties simultaneously, thus giving 
an ideal and symmetrical education, but to sug- 
gest some of the ways by which these desired 
results may be attained. 

There are few who will deny that some train- 
ing is needed, beside what the child now has, 
whereby he may be led to think, observe, com- 
pare, invent, and classify for himself. 

It should, however, be thoroughly under- 
stood by the patrons of the public schools that 
it is not the object of this training to teach their 
child any one trade. This would be unwise and 
impossible; but it should seek to give him a 

5 



Practical Basketry. 




m 



little knowledge of as many sides of industry 
as possible, and to familiarize him with com- 
mon substances and their physical properties; 
to make him a doer, instead of an onlooker, and 
to teach him to build character, as well as to 
construct articles of use and beauty. 

All educators must admit that many mis- 
\ takes have been made in trying to solve the 
problem of putting a child's senses and hands 
ynto harmonious relation with his mind. 
^*\ V : Perhaps one of the most harmful mistakes 
f^-;k possible is giving to young, immature children 
.,-,. too t difficult or advanced work. It is a serious 
r,;' ini|take to give to the child just entering school 
work that is more suited to his older brother 
d sister. The result must necessarily be 
rude and unsightly- He can but feel that he 
has failed, and consequently he loses interest. 
Give* him something that he can do well, and 
then require some standard, some degree of ex- 
cellence. When this is reached introduce^hlm 
to something higher, thus leading him froni 
one success to another. f * . ^ 

In all work the quality and not the qu^ptity 
should be considered. This does no^-^^^aJ;^ 
we should expect perfect result^n^4t^Toes 
mean that poor work should hot be praised. 
The child will usually estimate his own work 
correctly, although he may not be able to see 




* ; 

?}■ 
Foreword. 7 

why he failed. It is here that the wise teacher .""'#" 

will bridge the difficulty successfully by com- ^ 

mending the effort and suggesting the way by p 

which better results may be obtained in the 
future, > 

Another mistake is made by giving the child 
too much work. This is done by allowing the 
classes to work on an exercise too long at a 
time, or in giving the same exercise at too fre- 
quent intervals. The first is apt to overtax th# 
child, the latter prevents the desire for more, ' 
and both endanger his appreciation and inter-" 
est. If the teacher will bear this in mind, she 
will find that the child is stimulated to do his 
best because of his present happiness in doing gv 
the work and the thought of that which is tc£ ^V 
follow. # \ * 

Although at first results may not be entii^py^^W' 
satisfactory, one must remember the ultimate 
aim of the exercise is the developmonrof tlie 
child, and not the making of articles to exhibit 
for the glorification of teachers and- supervisor; 

In order to obtain the best results in the de- 
velopment of the child, it is necfssary to enlist 
the sympathy and co-operation/ef the parents; 
who are 'always ready to respond and enter 
into any scheme that furthersjms advancement. 
A piece of work well done-^aken- into the home 




8 Practical Basketry. 

will generally create an interest in the child's 
whole school life. 

In selecting work that is suitable for the 
school-room, many things must be considered 
—limited time, lack of space, size of the ma- 
terial used, and the necessary tools. 

Upon investigating different material, we 
find that vegetable fibre offers many advan- 
tages over others, among which are its light- 
ness, cleanliness, durability. This material 
may, in many cases, solve the expense problem, 
as a great majority of country schools will be 
able to provide their own supply. The variety 
of articles that can be made from it is so great 
that there will be no danger of an over-supply, 
which is detrimental to the interest in any kind 
of work. The waste-basket, work-basket, and 
many other articles are in great demand on 
account of their useful and decorative qual- 
ities. One of the chief difficulties has been 
to provide industrial work that would be suit- 
able for mixed schools, and the strongest argu- 
ment in favor of the introduction of basketry 
is the interest which is manifested in it by the 
boys. They seem to enjoy it even more than 
the girls, and the prospect of working on a 
basket has often proved an incentive to study 
when everything else has failed. 

There is such a fascination about basket- 



to Practical Basketry. 

work ! One seems to put himself into the con- 
struction. The pupil has a tangible proof of 
conscientious, careful work in the completed 
article. He feels that it is worth while to try, 
and the remark, "Oh, what's the use?" is often 
eliminated from the boy's vocabulary. 

But basketry, although it has so many 
recommendations in its favor, and will prob- 
ably push its way to the front, is only one of 
the many occupations that should find a place 
in our course of study. With so much native 
material that may be used, and such an unlim- 
ited number of beautiful articles that may be 
made, it gives the child a wonderful opportun- 
ity to discover, reproduce, and create. 



I. 

Introduction. 

The necessity for proving the value of indus- 
trial education is past. The country knows 
and recognizes this value, as do the best educa- 
tors of all nations. Nor is it any longer neces- 
sary to urge that weaving, basket-making, and 
other simple methods of employing the hand 
of the child, may be easily and profitably in- 
troduced into the schools of to-day, without in- 
terfering with the ordinary plan of work, and 
without diminishing the so-called scholarly at- 
tainments of the children. 

Over and over again has it been proved in 

city and country schools that the children will 

make baskets and weave mats, sew and knit, 

draw and paint, and do all deftly, and learn 

just as much arithmetic, spelling, reading 

and writing, as children in those schools where 

none of these things are taught. And the 

glory of it all is that they have done it all so 

much more easily, so much rest and good cheer 

ii 



Introduction. 1 3 

have come in with the employment of the hand, 
that the memory of even learning definitions is 
no longer weariness and pain. 

There are many, however, who acknowledge 
the advantage of this work, and would gladly 
give their pupils the pleasure and profit which 
it brings, who do not attempt it, simply because 
of certain homely practical difficulties in the 
way. They have not themselves had instruc- 
tion, and there are many little matters of 
manipulation, trifling in themselves, and easily 
overcome, when one sees how, that make the 
wise teacher hesitate. She does not want to 
undertake to teach what she does not thorough- 
ly understand. To meet her need this little 
book is published. It gives simple, practical 
instruction as to ways and means. 

But there is another difficulty that is pre- 
venting the children, especially of the country 
schools, from getting the pleasure and profit 
of this training of the hand and eye. The 
materials cost too much. In schools where it is 
difficult to get necessary books the teacher does 
not dare to ask for an additional appropriation 
for raffia, wool, etc. But right here in the 
country are materials at hand in abundance, if 
teacher and children only knew how to use 
them. Hundreds of teachers will gladly wel- 
come practical suggestions which enable them 



14 Practical Basketry. 

to avail themselves of these resources. And 
the rushes, the corn husks and the grasses which 
they have themselves prepared are far more 
valuable from an educational standpoint than 
any supplies which come without effort. There 
is^perhaps no more urgent need than the power 
to utilize for comfort and beauty the common 
things that are going to waste right about us. 
To teach this lesson is the mission of this book. 

Maria L. Saxford, 
Prof, of Rhetoric and Elocution, University 
of Minn. 









II. 

Materials. 

IMPORTED MATERIAL. 

Rattan is a kind of palm which grows in the 
forests of India, twining about trees and hang- 
ing from the branches. It sometimes attains 
the length of a thousand feet. It is imported 
into this country stripped of leaves and bark, 
and split into round or flat strips of various 
sizes, which are called reeds, but as rattan is the 
more common name, we shall use it through- 
out the book. The reeds are numbered by man- 
ufactures, No. 1 being the finest. 

Raffia comes from the island of Madagascar, 
and is the Malagsy name for the palm. A leaf 
of this palm produces long green divisions, two 
to five feet in length, like the leaf of the sugar 
cane, and after being dried in the sun assume 
a straw color. 

Palm Leaf. — The palm leaf is a product of 
a palm in Cuba. It is imported in the leaf and 
prepared for weaving purposes in the factory 

*5 




1 6 Practical Basketry. 

by being bleached from its original greenish 
color to a pure white. It is then split into strips 
of different widths and numbered, Xo. I being 
the finest. 

Rush, — The flat or braided rush, which is 
imported by dealers in basket material, comes 
in green and brown. It is very beautiful when 
combined with rattan. 

Hemp is imported from the Philippine 
Islands and is used for making ropes. It can 
be colored any desired shade, and is very useful 
either as a thread or for a soft coil. 

NATIVE MATERIAL. 

We are not dependent upon the imported 
materials, as the beautiful Indian baskets will 
testify. While it is impossible to get the same 
material that the Indians use, there are few .lo- 
calities but furnish a supply of material from 
which we can make articles of use and beauty. 
In nature's storehouse will be found beautifully 
colored material, so that the vexed question of 
Vegetable versus Diamond dyes will, in a 
measure, be eliminated. 

Willow. — The small twigs and branches of 
the common willow that grows near streams 
and marshy places can be utilized by those liv- 
ing near them. See chapter on Native Wil- 
lows. 



Materials. 



'7 



Cattail Leaves should be gathered before 
they mature. The time will vary in different 
sections, but probably some time in July. They 
should be slowly dried. The Indians split the 
leaves before drying, and when about to use 
them, roll them against the leg with the palm 




Fig. 3.— Cattail Basket. 



of their hand. The leaves can be used as spokes 
and bands in baskets. If braided, they can 
be used instead of the braided rush. The braid 
can also be sewed into a simple, round basket. 

Flags and Rushes. — These can be used in 
the same way as the cattail leaves. At the base 
of the flag leaves will be found gorgeous colors, 
which can be used to good advantage in giving 
a touch of natural coloring to some basket. 

Straw. — Rye, oat and wheat straw can be 
made to do service in this work. The rye straw 



i8 



Practical Basketry. 



is the best for braiding, as it has longer joints 
than oats and wheat ; the other two can be used 
for a soft coil. 

Grasses. — Wire grass, which grows so 
abundantly in many places, makes very beauti- 




Fig. 4. — Basket made of Straw. 

ful baskets, plaques, and bags. Many other 
grasses furnish one of the most prolific sources 
of supply. The stalk is more often used than 
the leaves. One soon learns that if certain 
grasses are gathered too early they are brittle. 
Some grasses should be cut while they are in 
the seed, and others when ripe. It will require 
long study and experiment to obtain the best 



i * 



20 Practical Basketry. 

results in new materials. The work is now in 
its early stages, and there is still much to learn. 

Corn Husks. — The fine inner corn husks can 
be put to a variety of uses. They are rich in 
color; among them can be found dark reds, 
brilliant pinks, purples, pea green and dark 
yellow. Red pop corn gives some of the richest 
tones. 

Palmetto. — If the palmetto buds are sepa- 
rated and allowed to dry and bleach for several 
days in the sun, they can be split with a pin into 
any width desired and used in the same way as 
the palm. 

Pine Needles. — The long pine needles that 
grow in the Southern States make beautiful 
baskets. They may be gathered when fully ripe 
and dried, or those may be used that have fallen 
from the tree to the ground. The latter will be 
found in soft brown shades. 

Maiden-hair Fern. — The stems of this fern 
may be used when a little black is needed. They 
are unf ading and are of a glossy black. 

Willow Bark. — The bark from the willow 
twigs when dried is brown. A few rows of this 
bark worked into a rattan or willow basket 
would produce a pleasing effect. 

Cedar Bark. — The Indians use a large quan- 
tity of this bark for basket-making. The 
foundations of many of their finest baskets are 



Materials. 21 

made from it. If shaved thin and cut into one- 
quarter-inch wide strips, it could easily be made 
into a very attractive basket. See Plate I. 

Honey-suckle Vine. — I see no reason why 
this vine, that grows so profusely in many of 
the Southern States, could not be utilized for 
basket work. It could be peeled in the same 
way as the willow twigs, and might take the 
place of rattan for some purposes. 

I trust enough has been said to arouse an in- 
terest in gathering and adapting new material. 
There is a large field for the enthusiastic 
worker. 

The author would be pleased to hear of any 
satisfactory results along these lines. 

EXPLANATION OF PLATE I. 

The Klikatat Indians live inland, south of 
Mt. St. Helens, and belong to the Sabaptin 
family. 

There are but few of the older women who 
are now making baskets, and who wonders, 
when he reads the description given by Mrs. 
Yelina P. Molson of the materials used in their 
manufacture. 

"To gather, prepare and manipulate the raw 
material meant time and arduous labor. The 
foundation consists of roots of young spruce 



Materials. 23 

and cedar trees ; it was macerated and torn into 
thread-like shreds, and soaked for weeks and 
months in water to rid it of any superfluous 
vegetable matter and to render it strong and 
pliable. The ornamentation is almost all made 
of Xerophullum Tenax, which is commonly 
called "squaw-grass." It grows on the east 
side of the Cascade Mountains, and can only be 
gathered during the late summer, when the 
snow has melted and the grass has matured." 

No. 2. The design of this plaque is said to 
represent a railway engine just emerging from 
a tunnel and is called a Mold God. The row of 
color near the edge is supposed to be the track. 

No. 3. "The Digger Indians" are the re- 
mains of a people who are fast passing away. 
They may be found in the foot hills and slopes 
of the Sierra Nevada. Most of them dress in 
the civilized costume, though the majority still 
inhabit the rude Wickiups of their forefathers. 

The collector from whom this basket was 
purchased said none of their baskets are now 
to be had, except from private collections. 

No. 4. A very effective basket, made from 
cedar bark in brown and black. 

Nos. 5 and 6 are Alaskan baskets, made from 
some tough grass. The ornamentation is of a 
different material and only appears on the out- 
side. 



III. 

Rattan Weaving. 

Tools.— A sharp knife, a pair of strong, 
sharp shears, a long, straight awl, or large knit- 
ting needle, and a tape line are all that are 
needed. 

Terms. — The spokes are the ribs or upright 
pieces in a basket; they should be one or two 
sizes larger than the weaver. The weaver is the 
finer rattan that is wound in and out between 
the spokes. 

Weaving. — The simplest form of all is the 



is 




Fig. 7. — Under and Over Weavin 



"under and over" weaving, with one weaver 

and an odd number of spokes. 

24 



Rattan Weaving. 



25 



The same effect is produced with an even 
number of spokes by using two weavers. 
Weave around with one and then the other, al- 
lowing the second weaver to go under the spoke 
v:hat the first went over, and over the spoke that 
the first went under. 




Fig. 8. — Two Weavers, one following the othe 



Double Weaving. 



-Two weavers are used 
together. Whole baskets can be made with 
this weave. It is very effective used as bands 
on plain rattan baskets. 




Fig. 9„ — Double Weaving. 



Pairing. — Two weavers are inserted behind 
two succeeding spokes and crossed between 



26 



Practical Basketry, 



them, bringing forward the under weaver each 
time. This can be used on an odd or an even 
number of spokes. It makes a good finish for 
a mat or basket, and can be used on the sides 
of baskets to divide different weaves. 




Fig. io. — Pairing. 

Triple Twist. — Three weavers are placed be- 
hind three consecutive spokes, starting with the 
back one — the one at the left — bring it forward 
to the right over the two other weavers and be- 




. — Triple Twist. 



hind the third, proceed in this way, over two 
and under one. 



Rattan Weaving. 27 

This is a very desirable weave, as it entirely 
covers the spokes. For this reason it is used to 
cover places where broken spokes have been 
replaced, and at the bottom of baskets where 
additional spokes have been inserted. It also 
makes a strong finish for the top of a large 
basket. 

Amount of Material. — The rattan varies so 
in length that it is impossible to indicate by the 
number of strips the quantity needed for a 
given basket. 

In estimating the length of spokes, decide on 
diameter of bottom and height of sides. The 
spokes should be long enough to extend up 
both sides and across the bottom, allowing on 
each end of spoke not less than three inches for 
a simple border and more for a more elaborate 
finish. 

If the bottom of the basket is four inches in 
diameter and three inches high, it will require 
eight spokes sixteen inches and one nine inches 
long. When the eight spokes are crossed in 
the center, four on each side, and the one half 
spoke added on one side, there will be seventeen 
spokes radiating from the center. With this 
number the spokes are more easily kept in 
place, and the desired shape is obtained with 
less difficulty. 

In beginning rattan mats and baskets, one 




Fig. 12.— Rattan Mats. 



2S 



Rattan Weaving. 29 

strand of raffia may be used in binding the 
spokes together and weaving the rest of the 
strand around the center. The raffia is more 
easily handled and it makes a neater center. 



IV. 

Rattan Mats. 

It is not the purpose of this book to exhaust 
the subject of rattan work, but only to give a 
few hints and suggestions that may enable a 
beginner to go on with the work. 

Rattan should not be soaked in water for any 
length of time; being porous, it only needs to 
be dipped two or three times to make it pliable. 

A mistake is often made by not using 
enough spokes to make the work firm and dur- 
able. A close border cannot be made in a sat- 
isfactory manner if the spokes are too far 
apart. 

Mat. — Cut six pieces of No. 3 rattan 12 
inches long, and one piece 7 inches long. Shave 



Fig. 13.— Split Spoke. 

to a short point one end of three long pieces 
and one end of the short piece. Make a small 

3° 



Rattan Mats. 



3 1 



slit through the center of the other three. Push 
the three pointed pieces through these slits, one 
at a time, down to the center. When one is in 
place, the others can be easily pushed in on 
either side. Hold firmly in the left hand with 
the split spokes in a horizontal position. Insert 
the pointed end of the short piece through the 
slits in the horizontal pieces between the first 
and second vertical spokes, taking care that it 
only extends through to the other side of these 
spokes. 

Place the large end of a strand of raffia in 
front of the upper vertical spokes with the end 



i^ 



Fig. 14. — Spokes Threaded for Round Base. 

toward the left. Bring this strand down be- 
hind the horizontal spokes at the right, then 



3* 



Practical Basketry . 



over the lower vertical spokes and up behind 
Lhe horizontal ones at the left, then down over 
the horizontal spokes at the left — this binds the 
first end of the raffia — behind the lower vertical 




Fh 



LKJ 

15. — Starting Weaver. 



spokes up over the right horizontal ones, across 
behind the upper vertical spokes. This brings 
the weaver to the upper left-hand corner. Be- 
gin to weave over and under around the center 
from left to right, pulling the weaver down 
close to the center. 

Great care must be taken that the spokes are 
evenly separated by the time the third row is 
woven, so that the spokes come out in a straight 
line from the center. 

When one strand of raffia has been used, a 



Rattan Mats. 



33 



weaver of No. 1 rattan is inserted behind a 
spoke and the weaving continued. 

It will be necessary to hold on to the end of 
the rattan weaver, to prevent its slipping, until 
the weaver passes over it in weaving the second 
row. This will bind it firmly. Bring each row 
down to the preceding one. The rattan should 
not be drawn too tight, as the mat must be kept 
flat. If a full length weaver is used, it will 




Fig. 16. — Beginning to Weave with Rattan. 
(This is illustrated with eight one-half spokes.) 

make a small mat without splicing. When the 
mat is finished, the end of the weaver is passed 
under the last row of weaving and behind the 
next spoke. Then it is ready for the border. 
A center may be begun without slitting the 



34 Practical Basketry. 

spokes. They can be simply crossed and bound 
together, as has already been explained. This 
is not so desirable, since it is more clumsy, espe- 
cially for mats. 

When an open center is made and the spokes 
used in groups, they should always be crossed. 
In this case the weaving does not begin close 
to the center so the thickness is not so apparent. 
See No. 4, Fig. 24. 

Heavier mats may be made by using the 
pairing stitch or the triple twist. See Nos. 3 
and 4, Fig. 12. 

EXPLANATION OF PLATE II. 

Nos. 1 and 2 are Hoopa squaw caps, some- 
times called Shasta baskets, because some of 
the material — squaw-grass — from which they 
are made, grows on Mt. Shasta. They are 
nearly all of the same shape and size, but no 
two are ornamented in the same way. 

Nos. 2 and 5. The Skokomish Indians oc- 
cupy the upper shores of Puget Sound. "This 
weave is growing rarer as the years go by. 
The weavers have gradually decreased in num- 
bers, until now the tribe is almost extinct." On 
all the baskets made by these Indians will be a 
row of animals around the top. They are all 
alike, with the exception of the curl in the tail. 



36 Practical Basketry. 

If the tail curls up, it is supposed to be a dog; 
if down, wolves. 

George Wharton James, to whom I am in- 
debted for much of the information regarding 
these baskets, says: "Of the few good Skoko- 
mish weavers left, Sarah Crew is said to be the 
best, and she will only work when the weather 
is damp and rainy, as she says otherwise her 
grasses crack and split. ' ' These baskets are 
made of squaw-grass, and some other strong 
material. The grass is woven on the outside 
for ornamentation, and takes on a high polish 
with use and age. 

No. 4 is like No. 5 in Plate I, only smaller. 

No. 6 is a Porno meal tray. 



V. 

Borders. 

Open Border, No. 1. — The spokes should ex- 
tend three inches beyond the last row of weav- 
ing. Measure carefully and cut them of a uni- 
form length. Shave the ends so that they will 
readily push down between the weavers. 




Fig. 17. — Open Border No. I. 

Hold the spokes in water until pliable. 
Spoke No. 1 is pushed down beside spoke No. 2 
until the desired size scollop is made, and No. 2 
beside No. 3, and so on around the edge. 

Open Border, No. 2. — For this border the 

37 



38 Practical Basketry. 

spokes should be four inches long. Spoke No. 

1 is brought forward to the right in front of 
No. 2, and pushed down beside No. 3. No. 2 
is brought forward to the right in front of No. 

3, and pushed down beside No. 4. Continue in 
this way around the edge. See No. 1, Fig. 12. 

Tidsted Border, No. 1. — This is a very sim- 
ple close-twisted border, suitable for mats, 
baskets and covers. Spoke No. 1 is brought 
forward to the right over Nos. 2 and 3, and be- 
hind No. 4, close down to the weaving. No. 2 
is brought forward to the right over Nos. 3 and 

4, and behind No. 5, and so on around the edge 
until finished. The ends are then cut off just 
long enough to allow each end to lie across the 
next spoke. See No. 4, Fig. 12. 

Twisted Border, No. 2. — Spoke No. 1 is 
brought back to the right of No. 2 and forward 
over No. 3, then back over No. 4. Spoke No. 

2 is brought back of No. 3 and forward over 
No. 4, and then back of No. 5. Proceed in this 
way with the rest of the spokes. Then the ends 
are cut off, as in border No. 1. See No. 3, 
Fig. 12. 

A Heavy Border. — This border is suitable 
for large baskets. Bend the first spoke back 
of the second out in front between second and 
third. Bend the second spoke back of the third 
out in front between third and fourth. Bend 



Borders, 



39 



the third spoke back of the fourth out in front 
between the fourth and fifth. See Fig. 
18. Now take the end of the first spoke that 




Fig. 18. — Detail of Heavy Border. 

has already been bent around the second, bring 
it forward in front of the third and fourth, 
back of the fifth out in front between the fifth 
and sixth, and bend down by the side of this the 
first upright spoke at the left, which will be 
the fourth spoke from the first one bent. There 
will now be two bent spokes between the fifth 
and sixth. There will also be two between all 
the succeeding spokes, a short one and a long 
one. See Fig. 19. The long one is to be used 
again and the short one left where it is and cut 
off after the border is finished. Take the end of 
the second spoke ; bring it forward in front of 
the fourth and fifth and back of the sixth, and 
out in front between the sixth and the seventh, 
and then bend down beside it the upright spoke 



4° 



Practical Basketry. 



at the left, which will be the fifth one from the 
first one bent. 

The end of the third spoke should then be 
brought forward in the same way. The long 




Detail of Heavy Border. 



end between the spokes will be the one to be 
brought forward each time in the rest of the 
border. When the border is finished cut off the 
short ends of the spokes close up to the border. 



VI. 

Rattan Baskets. 

The old saying that "a poor beginning 
makes a good ending" does not apply to bas- 
kets. The beginning of a basket has much to do 
with the strength and symmetry of the finished 
article. 

It is quite unnecessary to describe one basket 
after another in rattan work, for they are so 
much alike that after one has made a few 
simple shapes he is able to copy anything that 
he may see, or to invent new designs for him- 
self. 

If possible avoid making an article for the 
purpose of learning the construction, that will 
not be fairly satisfactory when completed. 

Jardiniere. — For the first attempt one may 
cover a flower-pot, see No. 1, Fig. 20, as it will 
be both useful and ornamental. If a pot se- 
lected measure 3 inches across the bottom and 
is 5 inches deep, eight spokes should be cut 21 

inches long and one 11 inches long. When 

41 




- 



Rattan Baskets. 



43 



bound together there will be seventeen spokes 
radiating from the center. See Fig. 16. In 
making large baskets the number of spokes, 
size and length of rattan must be considered. 
Dip the spokes in water and begin the center 
the same as for a mat. When it is large enough 
to cover the bottom of the flower-pot, wet 
spokes again and turn them up on the sides. 
In beginning to weave the sides care should be 
taken to bring each row up close to the preced- 
ing one, keeping the spokes evenly separated. 
In joining weavers simply cross the ends be- 
hind a spoke. See Fig. 21. When the sides 




ig. 2: 



-Joining Rattan. 



are covered, weave three rows of pairing 
around the top. Finish with a No. 2 border. 
A small work-basket could be made using the 
same diameter for the bottom, and making the 
sides one half as deep — two and one-half 
inches. This would require eight spokes 16 
inches long and one 9 inches long. The sides 
of the basket should flare more than the flower- 



44 



Practical Basketry. 



pot. This can easily be done by holding the 
spokes out as far as desired. 

Beginners often find it difficult to make a 
basket that will stand straight and not tip to 
one side. No matter how careful one has been 
to make the bottom flat, it will bulge some in 
the center when the spokes are turned up for 
the sides. To avoid this, the center must be 



In i) 



U 



ML 



Fig. 22.— Oval Center. 



slightly concave, and this can be easily man- 
aged. While weaving with the raffia, place the 
thumb on the center and push it in, bringing 
the spokes toward the worker while the weaver 



Rattan Baskets. 



45 



is pulled tight enough to hold them there. 
When the rattan weaver is inserted one can 
continue to weave a few rows in the same way. 
Then make the rest of the hottom flat. 

In making large baskets it is better to make 
the bottom like the willow basket, and then add 
the side spokes by inserting one on either side 
of the bottom spoke, thus making twice as 
many side spokes as there are in the bottom. 




Fig. 23. — Showing Two Strands of Rattan. 

The bottom of oval baskets should be made 
in the same way. 

The only difference between making a round 
and an oval basket is in starting the center. It 



46 Practical Basketry. 

is well to weave the bottom of an oval basket 
with two weavers, either using the pairing 
stitch or allowing one weaver to follow the 
other, see Fig. 23, thus doing away with the 
odd spoke. The odd spoke in an oval basket 
makes the ends uneven. 

Arrange the center, as seen in Fig. 22, with 
short spokes three-fourths of an inch apart on 
the sides and two together on either end. 
Spokes can be added in the center, according to 
the size of the basket desired. One can easily 
start an oval basket with rattan weaver instead 
of raffia. The round ones may also be started 
with rattan. The raffia was suggested, as it is 
easier for children to make a tight, smooth cen- 
ter with the raffia. 

Children in the third grade can readily make 
simple rattan baskets. They should not, how- 
ever, use rattan larger than No. 4. 



VII. 

Handles, Covers, Hinges, and 
Fastenings. 

Handles. — Cut a piece of rattan several sizes 
larger than the spokes, for a foundation handle. 
Shave both ends. Push one end down through 
the border beside a spoke. It should extend 
two-thirds the way down the basket. Use a 
large knitting needle to crowd the weavers 
apart. Push the other end down in the same 
way on the opposite side of the basket. See 
Fig. 24. 

Insert a pliable weaver just below the border 
on the outside at the right of one side of the 
handle, allowing the end to run down beside a 
spoke on the inside. 

Twist the weaver three or four times around 
the handle, according to its length. On the op- 
posite side the weaver is brought over the bor- 
der through to the inside of basket, out on the 
other side of the handle, up over border, and 
then follow beside the first weaver around the 

47 



Hinges and Fastenings. 49 

handle. Now bring the weaver over border 
through to the inside of basket, out on the other 
side of the handle, then up over border, and 
follow the second weaver on the handle. Each 
row must follow closely the preceding one, un- 
til the foundation handle Is entirely covered, so 
that another row cannot be crowded in. The 
last weaver is brought inside the basket and the 
end is pushed down beside the handle. 

Covers. — Plain covers should be begun and 
made like the bottom. They may be either flat 
or the spokes can be bent up slightly from the 
center, thus forming a rounded surface. They 
should be just large enough to cover the top of 
the basket, and be finished with a close-twisted 
border. 

Hinges and Fastenings. — Rings made of 
rattan are very simple and effective for this 
purpose. 

Take a piece of rattan ten or twelve inches 
long and soak it until pliable. Tie a knot near 
one end, forming a ring not over three-quarters 
of an inch in diameter. The other end is then 
twisted over and under the ring once around. 
Or it may be twisted several times around if one 
wishes a heavier ring. These can be fastened to 
the basket by using a short piece of small, pli- 
able rattan. Pass the rattan around a spoke 
through the ring, then back again to the inside. 




Fig. 25. — Willow Baskets. 



50 



Hinges and Fastenings. 51 

Cross the ends and push them in beside a spoke 
in opposite directions. Fasten one ring on the 
back of the cover and attach it to the basket for 
a hinge, another on the front of the cover, and a 
third on the front of the basket. This should 
be smaller, so that it will pass through the one 
on the cover. 



VIII. 

Native Willow Baskets. 

This chapter is written to aid those who may 
be able to utilize the common willow that grows 
so profusely in many localities. Aside from 
the convenience of having a supply of material 
near at hand from which to draw, it gives an 
added value to a basket if one has gathered and 
prepared the material from which it is made. 

The twigs of the willow may be cut at any 
time after they have stopped growing, which is 
some time in August. 

Place a bundle of twigs in a common wash 
boiler with half a pail of water. Allow the 
water to boil, thus steaming the twigs until the 
bark, when crushed, can be readily stripped off, 
leaving a smooth, polished surface. The bark 
must not be scraped off, as this treatment will 
make the surface rough and uneven. 

In some cases the willows may be used with- 
out removing the bark. The Indians frequent- 

52 



Native Willow Baskets. 5 3 

ly use it in this way for a coil basket, when the 
coil is covered. 

For crushing the bark after steaming, a 
wooden peeler must be used — an iron one is 
used for larger willows. This may be made 
from a branch of green hard wood, three- 
fourths of an inch in diameter and about six 
inches in length. Split this through the center 



( =B 



Fie. 26. 



for one-half its length. Then split again at 
right angles to the first, thus dividing into four 
equal parts. Now cut out one-quarter on one 
side and another on the opposite side, leaving 
the two sharp edges of the remaining two-quar- 



Fig. 27. 

ters to form the peeler. Shave the ends of the 
two quarters from the inside out, so that the 
twigs will readily slip between them. Take 
the steamed twig and slip the larger end into 
the peeler and pull it through, pressing the 
peeler together with the thumb and finger. 
When treated in this way, the bark may readily 
be removed with the fingers. 

The best time to cut the willows is in the 



54 Practical Basketry. 

spring, just as the sap begins to flow freely. 
They can then be taken from the tree and run 
through the peeler without steaming. These 
are called "sap willows" and will not discolor 
so much with age as the "steamed willows." 

A large quantity may be prepared at one 
time and allowed to dry. When needed for 
use they should be dipped in water and rolled in 
a wet cloth until pliable. 

As the willows are in short pieces, the method 
of weaving is somewhat different from that 
used in rattan work. 

For a basket measuring three and a half or 
four inches across the bottom, select one hun- 
dred or more willow twigs, the large ends of 
which correspond to Xos. 2, 3, and 4 rattan. 
More must be prepared than are really needed, 
as there is always a waste. 

Cut off about three-fourths of an inch from 
the butt end of each twig ; if the end is left on 
the work will be clumsy. Before beginning 
work be sure that the willows are pliable. 

Select six of the largest twigs and cut a piece 
four and a half inches from the large end of 
each. Make a small slit in the center of three 
of these pieces and push the other three through 
them down to the center. These will form the 
bottom spokes. It is not necessary in this basket 
to add the odd spoke. 



Native Willow Baskets. 



55 



Take two of the smallest twigs to bind around 
the center (Fig. 28), using the twining stitch. 
Weave around the four groups of spokes two 




Fig 28. 

or three times, crossing in the corners ; then go 
on with the same weave and separate the spokes. 

When a new weaver is needed insert the 
large end of another twig behind the spoke 
where the old one ends, and continue to weave 
in this way until the bottom is three or four 
inches in diameter. Then cut the ends of the 
spokes off close to the last row of weaving. 

Take twenty-four of the largest twigs. 
Shave each large end and insert one between 
the weavers on each side of the twelve bottom 



56 Practical Basketry. 

spokes, allowing the ends to extend well in 
toward the center. Bend these up to form the 
side spokes, and tie the upper ends together to 




Fig. 29. — Spokes tied together. 

hold them in place. Allow them to remain tied 
until about one-half inch of the side has been 
woven. 

Xow take twenty-four more twigs. Shave 
the ends and insert one on the outside of each 
side spoke, making twenty-four side weavers. 



Native Willow Baskets. 57 

Begin at any place to weave by passing one 
of the weavers to the right over three spokes 
and behind the fourth and out in front between 
the fourth and fifth spokes. Take the next 
spoke to the left of the first one used and weave 
in the same way over three to the right, behind 
the fourth and out to the front between the 
fourth and fifth. Continue to do this until the 
starting place is reached. This will make a 
triple twist around the bottom. 

There will now be one weaver between all the 
spokes. At this point the real weaving of the 
sides begins. Take any weaver and pass it to 
the right over one spoke and under the next 
one. Where this weaver comes out between the 
spokes, there will now be two weavers, but one 
will see that there is a weaver behind the spoke 
to the left that will go in between them when 
woven. Take the next weaver to the left and 
pass it to the right, over one spoke and under 
the next one. Pass the next weaver to the right 
over one spoke and under the next one; over 
another and under another. Take the fourth 
weaver and pass it over one and under one ; over 
another and under another. There will now be 
five spokes that have no weavers between them, 
thus leaving four spaces without weavers be- 
tween them. This arrangement helps one to 
weave more rapidly. The rest of the weavers 



58 Practical Basketry. 

to the left will be woven over one and under 
one, over another and under another until 
the starting point is reached. Then there will 
be a weaver extending out between each spoke. 




Fig. 30. — Weaving begun. 

Proceed as in the beginning after the triple 
twist was woven around the bottom, and con- 
tinue to weave as before. 

When the full length of the weavers has 
been used, insert a new set, one behind each 
spoke, and go on with the weaving as in the be- 
ginning. Join all the weavers at the same time. 



Native Willow Baskets 59 

This should be done when there is a weaver be- 
tween each spoke. 

When the top has been reached, take three 
of the largest twigs and make a triple twist 
around the basket. Four weavers can be 
worked in the same way. Finish by making the 
heavy border — the last one given in the chapter 
on borders — with the spokes. 



IX. 

Articles made of Raffia. 

There is scarcely any other material that 
lends itself to so many uses, both artistic and 
useful, as raffia. It can be used in place of 
floss to embroider screens, pillows and portieres. 
When done in a Japanese pattern, the result is 
specially pleasing". 

There are so many ways in which braided 
raffia can be used that a few simple directions 
may help to avoid a great waste of material and 
do away with the rough unsightly objects that 
so often pass for industrial work. 

I have no sympathy with the teacher who, 
when asked if she would present a crude, rough 
piece of work, which she held in her hand, as a 
working model, replied : "Oh, it will do ; it will 
give some idea of the work." It is this "It will 
do" idea that is responsible for much of the in- 
efficiency of the present time. 

Braiding. — Four strands are the least num- 
ber with which a satisfactory braid can be made. 

60 



Articles made of Raffia. 



61 



There is no way of concealing the ends when 
three strands are used, and it is more difficult to 
make an even braid. 

In beginning a four-strand braid, instead of 
tying the four strands together at one end, take 





hs* 




pi 




SSI 




•urn 




»-irciwfBg 



Fig. 31. — Pillow made from Raffia. 

two strands of raffia, one in each hand, cross the 
one in the right hand over the one in the left 
near the center, but so that the four ends will 
be uneven. This will obviate the necessity of 
splicing all the strands in the same place. 
Bring the lower left-hand strand in front and 



62 



Practical Basketry. 



cross over the lower right-hand strand. Bring 
the one that is now the upper left-hand strand 




Fig. 32. 

down under the lower left-hand strand, and 
hold these in place with the thumb and fore- 
finger of the left hand. Now bring the upper 
right-hand strand down over the lower right- 
hand strand and cross under the lower left- 
hand strand. 




Fit 



If the following short formula is kept in 
mind, it will be an easy thing to make the braid 
even and smooth: "Under with the left, over 
with the right, and cross in the center." Keep 
the thumb and forefinger of each hand up close 
to the braid. It should be kept of uniform 
width by inserting new strands when needed. 



Articles made of Rama. 



63 



Bring the strand that is to be spliced to the 
lower right-hand place. Insert the new strand 




34. — Joining Strand. 



beside it, allowing the large end to extend an 
inch up under the upper left-hand strand. See 
Fig. 34. If the new strand makes the braid too 
wide the end of the old strand may be left out 
on the wrong side. Cut the ends off close up to 
the braid. 




Fig. 35. — Sewing Mat. 

In sewing the braid together use a small piece 
of a strand of raffia, sewing over and over on 



6 4 



Practical Basketry. 



the wrong side. Draw the thread tight, so that 
the stitches will show as little as possible on the 
right side. Any number of strands may be 
braided in the same way. 




Fig. 36. — Six Strands. 

A six-strand braid is very desirable for bags, 
boxes, etc. A formula for the six-strand braid 
is as follows: "Under and over with the left, 
over and under with the right and cross in the 
center'' 

Porch pillows, mats and splashers are very 




Fig. 37. — Loom used for making Pillows. 

easy to make, and are both decorative and use- 
ful. It requires a strong loom for this work. 



Articles made of Raffia. 65 

Any boy or girl can make one. The dimension 
of the lumber used for this loom is as follows : 

A. — 2x4 — 23 inches long. B. — 1x2—25 
inches long. C. — 1x2 — 10 inches long. D. — 
lxl — 25 inches long. The needle — E — is of 
hard wood lxl-4 and 26 inches long, made 
tapering with an oblong eye in the large end. 



Fig. 38. — Needle belonging to Loom. 

For one strand of the pillow, use sixteen 
strands of raffia, medium size. Tie the large 
end of the strand around the small upper bar on 
one side of the loom. Straighten out the raffia 
and tie on the opposite side by carrying the 
w T hole strand over the bar. Then divide the 
strand and bring one-half up on one side of the 
whole strand and the other half on the other 
side of it and tie. The large end of the next 
strand should be tied in on the opposite side 
from the first strand, but close to it, so as to 
keep the weaving even. Always tie in the large 
end of a strand first. It will take thirty-three 
strands for a pillow eighteen inches square. 

Any color may be used in different patterns, 
either in strips or checks; or one color may be 
used for the center, with a different colored 
border around the edge. 



66 



Practical Basketry. 



When the warp has all been tied in, tie two 
pieces of raffia together a finger's length from 
the large ends. The short ends will run out 
into the fringe. Then with these strands of 




Fig. 39. — Card Holder. 

raffia tie the warp strands at one end firmly 
together an inch and a half from the bar, using 
the chain stitch. This makes a firm, straight 
base, against which the first strand of the woof 
can be pushed. Use the same sized strands for 



Articles made of Raffia. 67 

the woof that was used for the warp. Thread 
the large end of the strands into the needle and 
weave them first in on one side and then in on 
the opposite side, thus alternating the large 
ends with the small ones, the same as in the 
warp strands. 

When done the pillow should measure the 
same on all sides. If it is impossible to crowd 
in the same number of strands that were used in 
the warp, one or two may be left out. 

Finish all around with the same chain stitch 
that was used across the beginning end. Untie 
the ends and cut them off, leaving four inches 
for a fringe. It is desirable to make the second 
side of the pillow in a different pattern. 

When both sides are finished they may be 
sewed together and filled with the waste ends 
of the fringe, together with a handful of excel- 
sior. 

Fig. 40 shows a number of articles that were 
made from the split strands of raffia. We shall 
not attempt to describe the work here, but they 
will serve to show the possibilities of the ma- 
terial. 



X. 

General Directions. 

Preparation of Raffia. — Raffia is imported 
with the strands tied together at the large ends 
in small bunches. It is well to keep it in this 
way, as it is hard to manage when untied. It 
can be used to good advantage just as it comes 
from the market, but some prefer to cleanse it 
before using. 

In order to do this, enough boiling water 
should be poured upon a bunch of raffia to cover 
it. After it has soaked an hour or more, it 
should be thoroughly rinsed up and down in 
the water, and then hung up by the large ends, 
to dry slowly. 

When raffia is vised for sewing, one should 
thread the end of the raffia that will the most 
readily go into the eye of the needle, but after 
threading, do not fail to move the needle 
towards the larger end and join the smaller end 
to the work. The larger end is the one that is 
cut from the stock and is usually darker and 
somewhat hardened. 

63 



jo Practical Basketry. 

In the directions for making the different 
baskets, the strand of raffia that is threaded into 
the needle will be called "the thread," to distin- 
guish it from other strands. 

As the work progresses, frequently move the 
needle along on the raffia, for the needle wears 
it quickly. If the raffia becomes too large as it 
is used up toward the needle, a piece can be 
split out at any time. Keeping the raffia of a 
uniform size throughout the work has much to 
do with its beauty. 

Using the raffia damp will tend to strengthen 
it and make the work smooth. Keep the raffia 
flat by twirling the needle frequently between 
the thumb and forefinger to take out the twist. 
Before beginning to make a basket, read the 
directions through carefully. 

The top of a coiled basket should be finished 
directly over the place where the first row of 
the bottom is turned up to form the sides, thus 
making an equal number of rows all around the 
basket. If this is not done the sides will be un- 
even. 

Beginners are often perplexed in regard to 
shaping a basket, the form of the decoration, 
and the introduction of colors. With very little 
practice one soon becomes skillful in this work, 
and feels quite equal to trying his hand at any 
basket that he may see. It is better to keep to 



General Directions. J\ 

the simple forms and not try the unusual, which 
may degenerate into what George Wharton 
James calls "vicious shapes." 

The decoration must be planned before one 
begins to work on the side of the basket. There 
are several ways in which this can be done. 

The bottom may be started and made five or 
six inches in diameter. By counting the num- 
ber of rows on the bottom that make an inch, 
one can then estimate the number of rows that 
will make the sides the desired height. If one 
wishes to decorate the basket with bands, either 
around the center or near the top, he may decide 
how many rows to work with the uncolored 
raffia and how many to work in colors. 

If the decoration desired begins at the bot- 
tom row, see Fig. 64, one must divide the cir- 
cumference of the bottom into four equal parts 
(if one desires this pattern) , and begin to work 
on any row of the pattern. 

One need not count the rows, but make a pat- 
tern by measure. Thus — bottom, six inches in 
diameter; height, two and a half inches. The 
side may be of any shape; either a continued 
flare, or it may flare out for nearly two-thirds 
its height, and then curve in toward the center. 
The side may be made with the uncolored raffia 
for three-fourths of an inch, then some pattern 
worked in with colors that will come to within 



72 Practical Basketry. 

half an inch from the top; finish in the same 
way as the bottom. There are a great many 
artistic patterns that can be copied. Of course, 
a more satisfactory way would be for one to 
design his own decoration. 

A color can be introduced in the same way 
in which a new thread is added, by allowing the 
ends of the old and the new thread to run along 
on the uncovered coil. As the work proceeds 
these ends will be covered by the stitches. It is 
not necessary to join a new thread each time 
some color may be needed. When one is 
through using a color, it may run along with 
the coil until it is needed again. In this way 
threads may be exchanged by dropping the one 
just used into the coil, and selecting another 
from the coil to take its place. 

One should always work on the outside of 
a coiled basket from right to left. 

The first row of the side of a basket should 
be turned away from the worker, and the first 
row of the side of a plaque toward the worker. 



XI. 
Knot or Lace Stitch. 

In naming the different stitches one is quite 
confused, for authorities differ so much on this 
subject. 




Fig. 41.— Knot Stitch Basket. 

The knot or lace-stitch is used for the first 
illustration of a coil basket, not because it is the 
most simple one, but because it shows less if the 

73 • 



74 Practical Basketry. 

threads and stitches are uneven. It can be used 
on the rattan or the soft roll, and looks equally 
well in any size or shape. If well made, there 
are few stitches that make a more beautiful 
basket. 

Dip a length of Xos. 3 or 4 rattan into water 
—this will prevent its splitting or breaking 
while winding. 

Wind it into a small coil — four or five inches 
in diameter — and fasten together by tying 
twice, leaving about eighteen inches uncoiled. 
Place five or six inches of the uncoiled end back 
in the water and let it remain until pliable. 
The rattan should not be wet again. If the 
rattan is used while wet it will shrink in drying 
and the raffia will be loose, thus making very 
unsatisfactory work. Shave the end of the 
rattan on the under side of the coil two and a 
half inches from the end, slanting gradually to 
a flat point, as in Fig. 42. Thread about one- 
half strand of raffia — split lengthwise — into a 



Fig. 42. — Hand Rattan. 

No. 18 needle, with the needle nearest the large 
end. 

Hold the end of the rattan in the left hand 
with the forefinger upon the small end of the 
thread about an inch from the end of the rattan. 



Knot or Lace Stitch, 



75 



Carry the thread down to the point, with one 
or two turns around the rattan, as shown in 
Fig. 43, and wind the rattan firmly back from 




Fig. 43. — Carrying the Thread down to the Point. 

the point (Fig. 44), about five-eighths of an 
inch. Bend the end over on the shaved side 




Fig. 44. — Rounding the Raffia back from the Point. 

three-eighths of an inch. (Fig. 45.) Then 
bend again. The winding should come to the 




Fig. 45- 



point indicated by a cross. Bring the thread 
around on the under side and pierce the center 
with the needle from front to back. See Fig. 
46. This will not be a difficult thing to do if the 



7 6 



Practical Basketry. 



rattan has been thoroughly soaked and shaved 
thin. This makes a firm center for any basket, 
and is now ready for any stitch. 

If the knot stitch is to be used the thread 
should be brought under the center to the front, 




Fig. 46. 



over the top, up through the right-side end, 
and down through the left side end, see Fig. 
47, making a cross or knot in the center. 




Fig. 47 



Hold the rattan firmly in the left hand, bring 
the thread from underneath the coil up to the 
left toward the worker, wind the uncovered rat- 
tan twice — winding from the worker — carry 
the thread over the forefinger and under the 



Knot or Lace Stitch. 



77 



second finger of the left hand to hold it, so that 
the winding will not slip on the rattan. The 
thread should be kept taut all the time. Grasp 
the coil with the right hand, and with the left- 
hand thumb and finger bring the rattan that 
has been wound close to the center. Hold this 
in place with the left hand and insert the needle 
underneath at the left end of the center. 

Draw the thread through and carry it over 
the covered rattan and around it, up to the left. 
This is the stitch that binds the free rattan to 
the preceding row. Hold the thread under the 
thumb of the left hand against the center until 




Fig. 48— Knit Stitch. 



the thread is carried across the binding stitch 
just made, and down at the right of it, through 
to the back. Then bring the thread up under 
the coil to the left, wind twice and sew into the 
same place. Wind again and carry around to 
the right end of the center and sew in the same 
way. After having worked one row around the 



78 



Practical Basketry. 



center, it can be forced into a circle between the 
thumb and finger. 

Wind the rattan two or three times, as 
needed, between the stitches, which should be 
about a quarter of an inch apart, taking care 
always to keep the thread flat. This can easily 
be done, if it is untwisted every few stitches by 
whirling the needle around between the thumb 
and finger, in an opposite direction. 




Splicing Thread. — In starting a new thread 
do not begin at the very point, but up several 
inches from the end, where it begins to grow 
larger, and is more nearly like the preceding 
thread. 

Allow the ends of the old and new thread to 
run out to the left beside the uncovered rattan, 
and wind them in with it as the work proceeds. 
After working two or three stitches, the ends 
may be cut off. The joining should not show. 

Splicing the Rattan. — Wet and shave both 
ends of the rattan to a flat point, beginning an 
inch and a half from the end. Shave one end 



Knot or Lace Stitch. 79 

on the upper, and the other end on the lower 
side of the curve. Place the shaved surface to- 



Fig. 50. — Splicing Rattan. 

gether in such a way that the uniform size of 
the rattan may be kept. Wind a few times 
with a small piece of raffia or thread, and sew 
through two or three times so that the ends will 
not draw apart. 



Fig. 51. — Splicing Rattan. 




3 X 

pq ^ 



XIL 

Navaho Weave or Figure Eight 
Stitch. 

Take two lengths of No. 4 rattan. Wet and 
shave one end of each piece. Place the two 
shaved ends together, one above the other; then 




F *g- 53-— Navaho Weave. 

wind and sew, as directed in Fig. 46; this leaves 
the thread at back of the center. Bring the 
thread under the center up to the left, wind the 
coil once, pass the needle down over the preced- 

8i 



82 



Practical Basketry. 



ing coil and out at the back. Fig 55. Proceed 
with the next stitch in the same way. 



Fig. 54- 

As the work progresses the stitches have a 
tendency to draw to the right, and do not form 
a straight line out from the center. To remedy 
this, care must be taken to spread the thread on 
the outside coil. The coil may also be wound 




Fig. 55.— Figure Eight Stitch. 

once between the stitches when needed. The 
stitches should always be the same distance 
apart. 

In the illustration, Fig. 53, the flat bottom 
includes the first row of color. The next row 
turns slightly to form the sides. Keep an even, 
shallow flare for eight rows, Fig. 56 ; then work 



Figure Eight Stitch. 83 

up nearly straight for five rows. Shave the 
ends and finish directly over the place where the 



Fig. 56. — Cross Section of Plaque. 

rattan hegan to turn up for the side of the 
plaque. 

In joining a new thread allow the ends of the 
old and new thread to run along the rattan at 
the left, where they will be covered by the 
stitches. 

To introduce color, join in the same way as 
a new thread. In working out a pattern, do not 
cut the threads in changing from one color to 
another, but carry the unused threads along 
with the rattan until needed. 

All the different lines may be worked in one 
color or each in a different color. 

In using this stitch one will observe that in 
order to work in one row of color it is necessary 
to cover two rows; but when the next row is 
worked in with the natural color, one of these 
will be covered, leaving only one colored row, as 
planned. 



XIII. 

Flat Rattan. 

The flat rattan is used to advantage either 
in a square, oblong, or a round shape. 




Fig. 57- 

Oblong Basket. — It is well to make the bot- 
toms of this basket first. The size of the one in 
the illustration is seven by four and a quarter 
inches. 

Cut seventeen strips seven and a half inches 

8 4 



Flat Rattan. 



85 



long, using the quarter-inch -wide rattan. Shave 
both ends to a thin, flat point, beginning one- 
half inch from the end. Cover one strip by 
winding with a thread of raffia. Sew a second 
strip to this, using the knot stitch. Sew a third 
to the second and so on until the seventeen have 
been used. Leave one-quarter of an inch of the 
rattan on each end of every strip uncovered. 
Care should be taken to have all of the strips 
of the same length, so that when finished the 
bottom will be perfectly square; if not, the bas- 
ket will be uneven. Use for sewing about one- 
half strand of medium-sized raffia. 

When the bottom is finished, soak the uncov- 
ered ends until pliable. Cut and wet two strips 




Fig. 58. — Showing the end turned without the Stitches. 

of rattan as long as the width of the bottom. 
Place these strips over the uncovered ends of 
the bottom, and fasten securely by sewing 
through each one to make the work firm. The 
stitches are omitted in the illustration. Bend 



86 Practical Basketry. 

the end strips up so that they will come on the 
inside of the basket. 

For the first row of the side cut a piece of 
rattan long enough to go around the edge of 
the bottom, allowing one-half inch for lapping. 
Shave both ends on one side, so that the uni- 
form size of the rattan may be kept. Hold this 
strip up to form the first row of the side and 
sew around, using the same stitch as on the bot- 
tom. At the ends the side strip will pass on 
the outside of the turned ends. The stitches 
are carried over both the outside row and the 
inside strip, thus completely concealing the 
ends. 

Continue to add rows until the basket is of 
the desired depth. If a straight side is desired 
use all of the strips of the same length. The 
sides may be made to flare by making each strip 
a trifle longer than the preceding one. The top 
of the basket can be made firmer by using two 
strips placed together in the last row instead of 
one, as in the preceding rows. 

Bound Basket. — A very desirable round 
shape, with a cover, is made from this material. 
It is especially convenient for collars and cuffs. 
Use the same width as for the oblong basket. 

Cut ten strips eighteen inches long for the 
sides. This will make a basket five and a half 



Flat Rattan. 



87 



inches in diameter. If a larger basket is de- 
sired, cut the side strips longer. 

Measure all the strips by the first one cut to 
insure a uniform length. The ends of each 
strip must now be sewed together, forming a 
ring. Shave both ends, lap one inch, and wind 




Fig. 59. — Round Basket. 



lightly with a small flat thread of raffia. Then 
sew a few times back and forth through the 
rattan to hold it firmly in place. These rings, 
when sewed together, will form the sides. 

Hold two rings in the left hand one above the 
other. Tie the small end of the thread on to the 
lower ring, using about one-half strand of raffia 
for this purpose. Throw a loop of the thread 
up inside of the two rings, allowing it to come 
up a half an inch above the top one, Fig. 60. 
Bring the needle from the inside out between 



88 



Practical Basketry. 



the rings and pass it through the loop from the 
outside. 

Draw this loop down over the top ring to the 
one below, keeping the thread taut. Pass the 




Fig. 60. 



thread down over the lower ring up on the in- 
side and through between the rings to the right 
of the loop, bringing the thread to the outside. 
Then cross over the loop and pass the needle 




Fig. 61. 



down between the rings at the left of the loop, 
thus making the knot. Fig. 61. Throw up an- 



Flat Rattan. 89 

other loop at the left of the first and proceed 
as before. The loop is for the purpose of 
covering the top ring. The lower ring will be 
only half covered. The spaces left between the 
stitches will be filled in when the next ring is 
added. After the two rings have been sewed 
together, place the third below the second ring, 
holding the three in the left hand. Join the 
thread to the second ring and bring it down in- 
side the third ring, up over the third and second 
on the outside. Fig. 62. Pass the needle down 




Fig. 62. 

between the first and second ring between two 
stitches, up to the right of thread, and down at 
the left, thus covering the second ring and leav- 
ing spaces between the stitches on the third row 
to be covered when the next ring is added. 

When the ten rings have been sewed to- 
gether, spaces between the stitches will be left 



9° 



Practical Basketry. 



on the last row. These will be covered when 
the bottom is sewed in. Care must be taken to 




Fig. 63. 

hold the rings even, so that they will not bulge 
in places. 

Cover. — Cut two strips eighteen and a quar- 
ter inches long for the sides of the cover. 
Fasten together the same as the side rings. 
Leave the spliced ends to be covered last, so 
that the fit of the cover may be changed if nec- 
essary. The bottom of the basket and the top of 
the cover will have the same appearance as the 
sides if two coils of No. 3 round rattan are 
worked together — Fig. 54 — thus forming a 
curving, flat surface. Wind the rattan once 
between the stitches. 

Waste Basket. — A waste basket may be 
made in the same way as the small round bas- 



Flat Rattan. 



9 1 



ket, using one-half inch flat rattan. It may be 
made to flare by making each ring a trifle larger 
than the preceding one, or be made to bulge 
in the center by making each ring a trifle 




Fig. 64. — Bottle-neck Basket. 
(Soft Coil of Raffia.; 



larger than the preceding one for half the 
height of the basket. Then each ring should be 
made smaller than the preceding one until the 
top ring is reached. 



XIV. 

Soft Coil. 

The strands of raffia vary so much in size that 
it would be impossible to indicate the size of a 
coil by the number of strands used. 




Fig. 65. 

Take as many strands of raffia as will make, 
when twisted, a coil the size of Xo. 6 rattan, 
which is about one-fourth of an inch in diam- 
eter. Cut the large ends slanting and place to- 
gether so that they will be uneven and will form 

a blunt point. 

92 



Soft Coil. 



93 



Thread needle (No, 18) with about one- 
half strand of raffia and draw needle toward 
the large end. 

Hold the strands of raffia in the left hand 
one inch from point ; place the small end of the 




Fig. 66. 

thread under the thumb of the left hand. Carry 
the thread down to the point, winding once or 
twice to hold the raffia in place ; then wind firm- 
ly back from the point three-eighths of an inch, 
turn and sew, as in Fig. 46. 

Use the Figure Eight stitch for the bottom, 
which should be four inches in diameter. 

Strands must be added to the coil when 
needed, to keep it of a uniform size throughout 
the basket. When new strands are added in- 
sert the large ends between the other strands 
close to the winding. 

As the size of the thread forms a large part 
of the decoration in this basket, the strand of 
raffia that is used for sewing the sides must not 
be split, but good-sized raffia must be selected 
for this purpose. Use a No. 17 needle. 

On the first row of the side, instead of using 



94 



Practical Basketry. 



the Figure Eight stitch, as on the bottom, insert 
the needle from behind, through the center of 
the preceding coil, bind over the free coil, as 
in Fig. 48, without the knot ; then wind the coil 
— winding from you — to the next stitch. The 
stitches should be about one-quarter of an inch 
apart. Work around the basket once in this 
way, being careful to have the stitches the same 
distance apart. As the basket increases in size, 
the stitches will be farther apart ; as it decreases 
in size toward the top, they will be nearer to- 




Fig. 67. — Showing Stitch. 



gether. No new stitches will be added as in 
most other baskets. 



Soft Coil. 



95 



When starting the second row on the side, 
bring the needle up through the center of the 
preceding coil close to the right of each stitch, 
thus forming a spiral effect. Make the sides 
two inches deep — measuring straight up from 
the center — and seven inches in diameter. Then 
turn the direction of the coil toward the center, 
beginning just over the place where it began to 
turn up to form the side. Leave an opening 
for the top four inches in diameter. Cut the 
coil off where it is to end, which should be just 
over the place where it began to turn in toward 
the center. Then cut some of the strands out, 
slanting them so as to make the end taper grad- 
ually for about two inches. 

Another way of using this same stitch is to 
take a smaller thread and place the stitches an 




Fig. 68. 



even distance apart — one-quarter of an inch — 
winding the coil between them. 



96 Practical Basketry. 

This is one of the most satisfactory stitches 
for a soft coil. 

The same stitch can be varied by strapping 
the coils together at regular intervals, and each 
time round taking the stitch in the same place, 
by passing the needle up through the stitches, 
giving them the appearance of a chain stitch. 
Fig. 68. Use a half strand of raffia for the 
thread. As the basket increases in size, put in 
new stitches by making a stitch half way be- 
tween all the other stitches, and proceed as be- 
fore. 



XV. 

Button-hole Stitches. 

It is better to work this on a hard coil. No. 
2 or 3 rattan is a desirable size. 




Fig. 70. — Showing Button-hole Stitch. 

Begin the center as shown in Fig. 46. Loop 
the thread up behind the coil, Fig. 60, and pass 
the needle through this loop from the front side 
next to the worker; draw the thread through 

98 



Button-hole Stitches. 



99 



the loop and bring it over in front down firmly 
on the coil, Fig. 71, leaving the loop nearly on 




Fig. 71. 



the top of the coil, so that the loop will hold the 
thread up, thus giving the stitch the pointed 




Fig. 72. 

effect. Then pass the needle down through the 
center, from front to back, and loop as before. 

L.ofC. 



ioo Practical Basketry. 

When once around the center, pass the needle 
down between each stitch on the preceding coil, 
keeping the line of stitches straight out from 
the center, by putting two stitches in the same 
place as often as needed. 

Quite a different looking stitch can be made 
with less care by drawing the loop each time 
down to the lower edge of the coil. Fasten the 
thread by winding it in with the coil. 



XVI. 

Strap Stitch. 

This is sometimes called the "Lazy Squaw 
Stitch." It is the most simple stitch, but its 




Kg. 73. 

beauty depends, more than any other, upon the 
uniform size of the thread used. 



102 



Practical Basketry. 



It is better to make this stitch over a rattan, 
as the coil is wound but once between the 
stitches, thus making it difficult to keep a soft 
coil in place. 

Begin the center as in Fig. 46. The stitch is 
like the knot-stitch, with the knot omitted. 

As the basket increases in size take two 




Fig. 74- 



stitches in the same place, so as to keep them 
parallel and one directly above the other. 



XVII. 

Whip Stitch. 

This is a very simple stiteh and can be vised 
on many different materials — rattan, corn 




Fig- 75- 

husk, rushes, cattail leaves, and all kinds of 
grasses. Raffia, hemp or shoe thread may be 



103 



104 Practical Basketry. 

used for the thread. If raffia is used, it must 
be split quite fine and kept of uniform size. 
If too coarse, it covers too much of the coil. 




Fig. 76. — Showing the Whip Stitch. 

The illustration, Fig. 76, will show the stitch 
sufficiently. 

Care must be taken to bring the thread up at 
the right and close to the stitch on the preced- 
ing coil. When made on a soft coil, the ends can 
be sewed into the coil, but if made on rattan, the 
ends must be fastened on the back by weaving 
back and forth on the stitches so that the right 
side will present a continuous thread. 



XVIII. 

A Porno Stitch. 

One of the finest weaves is made by carrying 
along a strand of raffia on top of the rattan, for 
the purpose of holding the stitches in the suc- 
ceeding rows. This is an especially good stitch 
for plaques. The fineness of the basket will 
depend upon the size of the thread used. 




Fig. 77- 

Begin the center as previously described in 
Fig. 48. Place the strand of raffia that is 
carried along with the rattan down to the 
shaved point, and wind it in with the rattan, 
care being taken to keep it on the top of the 

coil. 

105 



io6 



Practical Basketry. 



After sewing the center, bring the thread up 
from the back over the uncovered rattan, and 
pass the needle down between the rattan and 
the strand of raffia in the preceding coil. Fig. 
78. The stitches must be very near together in 




Fig. 78. 

order that the fine thread may entirely cover 
the outside coil. Keep the thread perfectly flat 
over the coil. As previously stated, if the 
stitches incline to draw back, wind the coil once 
between the stitches when needed. This will 
not affect the distance between the stitches, but 
it keeps the outside of the coil covered and the 
stitches on a line with the center. 



XIX. 

Basket Made of Flats. 

This basket is made from a material called 
"Flats." It is not what is known as flat rattan. 
Flat rattan is twice as thick and is used in the 
manufacture of chairs and baby carriages. 

"Flats" is a regular basket material. Cat- 
tail leaves, flag leaves and rushes may be sub- 
stituted for it and used in the same way. 

Cut seven strips of the material twenty 
inches long and sixteen fifteen inches long. 
Dip in water to soften. Lay the seven long 
strips on a board parallel to each other, the 
thickness of the material apart. Fasten to the 
board by pinning in the center of the strips. 
Brass-headed tacks are convenient for this pur- 
pose, as they will hold the warp strips securely. 
Weave in one of the short strips over and under 
the long strips near the center, where they are 
fastened to the board. Instead of weaving the 
second strip over and under, and trying to force 
it up close to the first, bend up the three under 

108 




Fig. 80 Basket made of Flats. 



109 



I 10 



Practical Basketry. 



warp strips close to the first short strip. Place 
a second short strip in between the three warp 




strips that are turned up and the four that lie 
on the board. Then turn the lower warp strips 
up and the upper ones down, and proceed as 
before, weaving in eight short strips on each 




Fig. 82. 



side of the center. If the bottom is not closely 
woven the basket will be unsatisfactory. 

Keep the bottom securely fastened on the 



Basket Made of Flats. 1 i I 

board until the edges are bound together by a 
row of raffia weaving. Take about two-thirds 
of a strand of raffia split lengthwise, double 
this in the center and loop it around one of the 
lower side spokes. Weave around the edge of 
the bottom, using the twining stitch, care being 
taken to pull the stitches down close to the edge 
of the woven bottom. Twist the twining 
threads over each other once between the cor- 
ner spokes. When the starting point is reached 
tie the threads in a bow knot, as they will be 
used again. 

The bottom of the basket can now be taken 
from the board. Divide the spokes by cutting 
through the center lengthwise from the ends 
down to the twining stitches, making twice as 
many spokes on the sides as on the bottom. 

Tack the bottom of the basket on a block of 
the same size and long enough to extend an 
inch beyond the spokes when they are bent up. 
Untie the raffia that was used on the first row of 
wide spokes, and continue to weave around the 
divided spokes in the same way, using the same 
stitch — twining stitch. Care must be taken to 
draw each thread as it passes around a spoke 
down close to the preceding row. 

After weaving seven or eight rows, a plain 
strip of the material can be placed around the 
basket, over and under the spokes in the same 



1 1 2 Practical Basketry. 

way that the bottom was woven by bending 
back every other spoke and pinning the strip 
to the block down close to the weaving. Pass 
the raffia weavers up behind this strip and bring 
them to the outside, one on each side of an out- 
side spoke. Continue to weave as before. 

In the illustration there are two rows of 
weaving between each strip until five have been 
added. The top is finished with about one inch 
of weaving. 

In splicing the thread, the strand that is to 
be spliced should be carried forward and the 
new thread placed with it, allowing the end of 
the new thread to run up beside the spoke. 
When the back strand is brought forward, it 
will firmly bind it. Weave two or three times 
around with the end in this position, and then 
cut it off close to the spoke. 

The ends of old threads may be carried up on 
the spokes and fastened in the same way, thus 
concealing the ends of all threads. The end of 
the plain strip should be lapped behind a spoke. 

If the weaving is done too tight it may be 
difficult to take the block out. This can be 
overcome by adding on the sides of the block 
three or four thicknesses of newspapers, at dif- 
ferent times as the basket is being made. It 
will increase slightly the size of the basket 
toward the top. When finished, pull out the 



Basket Made of Flats. i I 3 

paper and then the block will slip out easily. 
This basket may be made without the block if 
the bottom is fastened securely to a board. 

After the basket has been removed from the 
block wet the ends of the spokes thoroughly 
down to the weaving, but no farther. Take a 
strip of the material long enough to go around 
the basket without lapping. Cut off about 
one-third of the width. Scrape the wide strip 
until very thin. Weave this over and under 
the spokes like the preceding strips, bringing 
it down close to the weaving. 

Turn all the outside spokes down, over the 
strip just inserted, into the inside of the basket. 
Sew these down firmly with a small thread of 
raffia, and then cut them off on the inside, at 
the lower edge of the strip. Cut off the inside 
spokes that have been left upright at the upper 
edge of the strip. Now take two more strips, 
full width ; shave thin. Place one on the out- 
side of the one just inserted, allowing it to 
come down just to the upper edge of the weav- 
ing. The other is placed opposite on the inside, 
covering the turned down spokes. Bind these 
strips together with raffia, sewing between and 
through the spokes. The strips may be en- 
tirely covered or space left between the stitches 
showing the uncovered strip. Care must be 
taken so that the edge will not be too thick. 



ii4 



Practical Basketry. 



The ends of the spokes may be shaved thin be- 
fore turning down, thus reducing the thick- 
ness. 

Color may be introduced in different ways, 
either using one strand of the natural color 
and one strand of any desired color, or both 
strands may be of the same color. The spokes 
and bottom may also be colored by dipping in 
a dye after the bottom has been woven and the 
spokes cut. If colored before cutting, the 
edges of the spokes will be of a lighter color. 

If the narrowest width of "flats" is used, the 
spokes need not be cut. A finer basket is 




Fig. 83. 



made, however, by using the narrowest width 
and cutting the spokes. 




Fjg % 84.— Articles made of Corn Husks. 



'5 



1 1 6 Practical Basketry. 

The weaving may be continued up the sides 
without the plain strips, using different rows 
of colored raffia for decoration. 

Baskets of this material can be made in a 
great variety of shapes. The basket just de- 
scribed may be made only two inches deep, in- 
stead of four and a half, as in the illustration, 
or the same block can be laid on its side and a 
basket made over it, thus making an oblong 
basket suitable for photographs. 



XX. 
Corn Husks. 



Com husks used in different ways furnish 
an inexhaustible supply of material to the skill- 
ful worker. The inner leaves that cover the 
ear are fine, soft and durable. When used they 
should always be damp. 

If the husks are selected with care, rich, per- 
manent colors can be secured, or they may be 
stained by dipping in any dye desired. 




Fig. 85. — Braid made from Corn Husks. 

An endless variety of articles can be made 
by using the husks in plain and fancy braids — 
Fig. 85— table mats, floor mats, porch pillows, 
picture frames, hats and baskets. 



117 



1 1 8 Practical Basketry. 

In braiding with the husks, the ends are 
lapped a half inch and braided in. 

The husks can also be used for the roll in a 
sewed basket. The whole roll may be made 
from the husks, or a roll made of straw; or 
grass may be covered with the husks and sewed 
together with raffia or hemp, using the whip 
stitch. Fig. 76. 



XXI. 

Basket Work Graded. 

When we consider the variety of industrial 
work that is suitable for the school-room — cord 
work, paper-folding, weaving, basketry, and 
whittling, it would seem that the only difficulty 
presenting itself in making a course of study 
would be the danger of overcrowding. 

The grading of basket work, as suggested 
below, is the result of several years experience. 

GRADES 1 AND 2. 

1. — Picture Frames — round, oval, and 
square. Fig. 6. These are made by cutting 
the desired shapes from cardboard — old paste- 
board boxes may be used — and winding with 
raffia, joining the strands by tying at the back. 
The older pupils may use straw for this pur- 
pose. See Fig. 87. When winding with straw 
begin to work with the large end, thus leaving 
the small end to be pieced. Allow this to run 

one-half inch inside of the large end of the next 

120 



Basket Work Graded. 



121 



straw. Continue the work, always joining at 
the back. 




Fig. 87.— Straw Frame. 

2. — A very pretty round box may be made 
by cutting out two round pieces of cardboard 
five inches in diameter, for the top and bottom. 
Cut a hole in the center of each, five-eights of 
an inch in diameter. 

A strip of cardboard is then cut two and 
three-eighths inches wide, and long enough to 
make the side of the box, so that the cover and 
bottom will come just over the edge. Sew the 
side strips together and wind with raffia. Wind 
the cover and bottom in the same way by pass- 
ing the strand of raffia through the hole in the 
center and over the outside edge. To add in- 



122 



Practical Basketry, 



terest, color may be introduced. When wound, 
the bottom may be sewed on the side, using a 
whip stitch. If sewed around the second time 




Fig. 



-Work-box made of Cardboard and Raffia. 



with the stitches running in an opposite direc- 
tion, they will form a cross stitch which will 
make it firm and give a neat finish. The cover 
may then be fastened on at one side, and a ring 
attached in the center. Fig. 88. 

3. — Oblong or square mats may be woven 
with raffia, th£ younger pupils using a cotton 
warp and the older ones using raffia for both 
warp and woof. The raffia should not be tied, 
but allowed to lap two inches. If raffia is used 
for the warp, all the ends should come at the 



Basket Work Graded. 123 

end of the mat. When taken ont of the loom 
they may be run down beside a warp strand, 
thus making the surface neat and smooth. 




Fig. 89.— A Letter Holder. 



These woven pieces may be made into a 
great variety of articles that will suggest them- 
selves to an ingenious teacher (see Fig. 89) 
— comb cases, letter-holders, cornucopias, etc. 



124 Practical Basketry. 

GRADE 3. 

1. — Knot-stitch mats (see Fig. 90) 
2. — 'Knot-stitch baskets. 




Fig. 90. — Mats made by 3rd Grade Pupils. 

This work can be given in two ways, either 
by dictation, giving the stitch first on pieces of 
rattan, and then the center, or by individual in- 
struction, teaching it to a few older pupils, and 
then allowing them to teach others. 

3. — Rattan work, mats and simple baskets. 

GRADE 4. 

1. — Braiding. 

2.— Soft coil basket. (Chapter 14.) 
3. — Rattan work. 

Cattail leaves and rushes can be braided and 
used with the rattan. 

GRADE 5. 

1.— Flat rattan. (Chapter 13.) 

2. — Whip stitch on rattan, grass, corn husks, 

3. — Rattan and willow work. 



Basket Work Graded. 



125 



GRADE 6, 7, and 8. 

1.— Strap stitch. 

2. — Buttonhole stitch. 

3. — Use the flats or any substitute — cattail 
leaves; rushes. 

4. — Any desired shape of plaque or basket 
may be used. 




XXII. 

Coloring. 

In selecting colors for baskets or any other 
work, one should realize what an important 
factor color is in the artistic development of 
the child, and how much this development has 
to do with his happiness and well-being. 

Color in baskets is very attractive, but if one 
wishes to secure the best results he should avoid 
the brilliant colors, which are in too great a con- 
trast to the other material used. 

It is advisable for the beginner to use, beside 
the ground work, only one color, and very little 
of that. One will make no mistake if he uses 
some shade of brown, since it harmonizes per- 
fectly with the natural color of raOa and rat- 
tan. 

If one would utilize all the different tints of 
the natural material, he would need very little 
aid from the dyer's art. 

Dealers in dyewood and barks — druggists 

— can supply nearly all the vegetable extracts 

126 



Coloring. 127 

for the different colors. An enthusiast may 
find for himself in the blossoms, fruit and roots 
of plants very desirable dyes. 

Raffia should always be soaked in water be- 
fore immersing in any dye or mordant. Never 
boil the dye after the raffia has been put into it, 
as directed for cloth or yarn, for it will rot or 
burn the raffia. 

Rattan needs to remain in the dye but a short 
time, since it is porous and will take color very 
quickly. 

Brown. — Raffia, like the squaw-grass of the 
Pacific slope, will become a light brown if 
soaked in water for a number of days. If 
soaked in copperas water, it will give both light 
and dark shades. 

Extract of logwood, 1 ounce in two pailfuls 
of water for one pound of raffia makes a good 
brown. No mordant should be used with this. 

Walnut roots or green husks of the nut, but- 
ternut bark, alder and willow bark, all give sat- 
isfactory shades of brown. 

Yellow. — No. 1. — Gather two pailfuls of 
the golden rod blossoms. Place in a bright tin 
boiler and cover with cold water, allowing the 
water to boil for twenty minutes. Strain and 
add a piece of alum the size of an egg. This 
makes a very effective dull yellow. 

No. 2. — Soak the raffia over night in a mor- 



128 Practical Basketry. 

dant or fixing bath made of alum, one-half 
pound to one pound of raffia, with water to 
cover. Dilute one ounce of extract of fustic in 
two pailf uls of hot water. Drain the raffia and 
put into the dye, stirring constantly until the 
required shade is obtained. 

No. 3. — Saffron, 1 ounce to a gallon of wa- 
ter. Alum mordant. 

Orange. — No. 1 — Cochineal added to a fus- 
tic, made as for yellow, makes a good orange. 

No. 2. — Annotto makes an orange. 

Red. — Mordant the raffia with six parts of 
stannous chloride crystal and four parts of 
cream tartar. Boil the cochineal and strain, al- 
lowing the raffia to remain in the dye until the 
desired color is obtained. Pokeberry will also 
make a red. 

Bottle Green. — For a mordant, make a boil- 
ing solution of one-tenth of a pound of chrome 
and one-fifth of a pound of alum, allowing the 
raffia to remain in this for a few minutes until 
it is thoroughly saturated. Take the raffia out 
and have another boiling solution of three 
pounds of fustic and one and one-half pounds 
of logwood chips. Put the raffia in this and 
allow it to remain until the desired color is ob- 
tained. This amount makes a dye for ten 
pounds of material. 



Coloring. 129 

Light Green. — Boil sage leaves and set with 
alum. 

Steel Color. — Sumach fruit treated in the 
same way as the golden rod and set with alum 
makes a dark steel. This is much better to use 
than black when a mass of dark is desired. 

Black. — Dissolve one ounce of extract of 
logwood in two pailfuls of water, and add a 
piece of copperas the size of a walnut. It takes 
a longer time to color this than any other color. 
Wash and rinse thoroughly after dyeing, 
otherwise it will crock. 



XXIII. 

Cord Work. 

Cord work is so simple that it can be easily 
dictated to large classes. It gives employment 
to both hands equally. It teaches concentra- 
tion and arouses the inventive and designing 
faculties. This work is especially adapted to 
small children. 

Materials. — Any kind of cord may be used. 
Macrame, staylacings, shoestrings, or common 
wrapping cord will give very satisfactory 
results. 

In school districts where there is no fund 
with which to purchase material for industrial 
work, the pupils may be asked to bring pieces 
of twine from home. After a quantity has 
been collected, it might be dyed some desirable 
shade. The preparation of material will add 
interest to the article made. 

TIE KNOT ONE STRING. 

Give to each child a piece of string about a 
yard long. Place the two ends together in the 

130 



Cord Work. 131 

right hand and let the loop hang down. Tie 
the first knot in the middle hy placing the fore- 
finger of the left hand in the loop and bring 
the end that is between the forefinger and the 
second up around the forefinger towards the 

Fig. 91. — Tie Knot of one String. 

thumb, then carry it over and through the loop, 
and pull tight. Fig. 91. 

Draw the knot just made down into the left 
hand and tie the second knot about an inch 
from the first. Continue tying knots until the 
half of the string is used. Turn the string and 
tie the other half in the same way. If the first 
knot is tied in the middle of the string it will be 
easier to pull the short end through than if the 
work was begun at one end. 

These knotted strings may be utilized in 
various ways. If all are of the same size and 
color they might be used to make a fringe on 
a spread for the teacher's desk or table. Plain 
or mixed denim would be an excellent material 
for this purpose. Care should be taken to have 
the spread and fringe harmonize in color. 
Color harmony is of the greatest importance 
in industrial work, and should never be neg- 
lected. Plain burlap would also make a serv- 



132 Practical Basketry. 

iceable spread, using some contrasting color for 
fringe (brown or green). If one wishes the 
knotted strings might be sewed around the 
spread in rows just above the fringe, or in 
some square design. The older pupils would 
enjoy doing this, thus fostering the community 
interest. 

TIE KNOT OF TWO STRINGS. 

Use two strings, hold them together and tie 




Fig. 92. — Tie Knot of two Strings. 

the knot in the same way as with one string. 
Fig. 92. 

FRINGE KNOTTING. 

Take three strings, double each one, and tie 
a knot, using both ends, about one inch from 
the end of loop. Fig. 93. In this exercise, if 
the center string is of a different color, it may 
help the pupil to see more readily how the 
strings are tied. Place these knotted strings 
on the desk so the knots will lie side by side 
(Fig. 93) , thus making three knots in the first 
row. There will be only two knots in the sec- 



Cord Work, 



'33 



ond row. The third row will be like the first. 
(Fig. 94.) 





W <, ... * 

Fig. 93.— Fringe Begun. Fig. 94.— Fringe Completed. 

Continue to knot in this way for rive rows, 
then tie knots in each string. 



*34 



Practical Basketry. 



After a very little practice in fringe knot- 
ting the pupil can very easily make a bag or 




Fig. 95. — Knotted Bag. 

hammock. With the smaller children it would 
be better to use a coarse cord for the first effort 




Fig. 96. — Knotted Hammock. 

(shoestring or lacing-cord). Raffia may also 
be used for a hand-bag or a sponge-bag for the 
bathroom. 




Fig- 97- — A Single Chain of one String. 



A SINGLE CHAIN STITCH OF ONE STRING. 

This may be made by holding the work in 
the left hand, and with the thumb and finger 
of the right hand pull a new loop through the 
loop already made. 



Cord Work. 



J35 



Hold the work in the same way as in Fig. 97, 
and pull through first one string and then the 




a^sa^s^^ 



Fig, gS, — A Chain Stitch of two Strings. 

other, for the new loop. This makes a three- 
sided cord. It may be made with different col- 
ored strings. 

It is formed by a succession of simple knots, 
one on top of the other, on the inside of the 




Fig. 99. — A Spiral Cord of two Colors. 

cord. Take two strings of different colors. 
Tie a knot in the middle of one over the middle 
of the other. Now tie a second knot directly 
on top of the first, using the under strings or 
the ends of the one that was tied into the first 
knot. The third knot is tied directly on top of 
the second, using the two strings that made the 
first knot. Continue to tie knots in this way, 
by using first one color and then the other. This 
makes a very desirable cord. It may be used to 
finish the edge of a pincushion or sofa-pillow. 



136 



Practical Basketry. 



It may also be used to good advantage for mats 
either for the dining-room table or other places. 




Fig, 100. — Single Chain of See-saw Knot. 

In making this, two strings of different col- 
ors should be used. Hold one string straight 




Fig. 101. — Double Chain of See-saw Knot. 

and tie the other around it. Then reverse 
strings, first holding one straight and then the 
other. 



Cord Work. 



V37 



Use four strings, two of one color and two 
of another. Tie the same as in Fig. 100, using 




Fig. 102. — Combining Single and Duubie See-saw Knot. 

the two strings in the same way as if they were 
one. 

The illustration shows how this is made. Use 
four strings, knotting each two together for a 
certain number of knots, as in Fiff. 100. 



i38 



Practical Basketry. 



One can see how a bag could be made with 
almost any cord, by uniting the different 
strands at regular intervals. 

Three strings are required, one being much 
longer than the other two. Hold the two 




Fig. 103. — Corkscrew Cord. 

shorter strings straight for the foundation and 
work the third one around them by using a 
simple buttonhole stitch. The twist is obtained 
by carrying the string with which the knot is 
made around behind the foundation strings, 
once every ten stitches. 

Use four strings, two for the straight foun- 
dation and the other two for knotting. The 




Fig. 104. — Single Genoese Knot. 

knot is the same as Fig. 103, making a knot 
first on the right with one string, then a knot on 
the left with the other. This may be varied in 
many different ways, as in Fig. 105, when two 



Cord Work. 



*39 



knots are tied on one side by the same string 
and then two on the other side with the other 




Fig. 105. — Double Genoese Knot, 



string, or, as seen in Fig. 106, where seven 
knots are tied on one side, then the other string 




Waved Bar. 



is brought straight down beside the knots 
already made and seven knots are tied with it. 

This is made like the first half of the Solo- 
mon's knot, and then repeated. 

Many other knots might be given. The 
most of these knots were used in the Macrame 




Fig. 107. — Banister Cord. 

lace work that was so popular several years 
ago. There are several books on the market, 



140 



Practical Basketry. 



published at that time, which give a greater 
variety of knots if one wishes to go into the 
mystery of knot-tying more deeply. 



^s^^^S^0 




Fig. 108. — Solomon's Knot. 

This knot is used in making bags, hats and 
other fancy work with raffia ( Fig. 40 ) . It 
requires not less than four strands, and many 
more are often used. There are two steps in 
the completed knot, first tying a knot with the 




Fig. 109.— Left Hand Knot (ist Step.) 

left-hand strand (Fig. 109) , and then with the 
right (Fig. 110). 




Fig. no. — Right Hand Knot (2d Step.) 



Cord Work. 141 

Spool Work. — Making a cord through a 
spool is a fascinating and useful work for small 
children. Wool and cotton yarn may be used 
for this purpose. 

There are spool knitters on the market which 
sell for five cents each, but one can easily be 
made from an ordinary spool, which may be 
brought from home. 

Four headless brads an inch long should be 
driven into one end of each spool for one-half 
their length. They should be equi-distant from 




Spool Knitter. 



each other and near the edge of the hole. A 
large pin, darning needle, or piece of wire 
may be used to carry the loops over the thread. 



142 Practical Basketry. 

The work is commenced by taking the spool 
in the left hand, and with the right placing a 
loop of yarn over each brad. The short end 
of the yarn is passed through the hole in the 
spool and drawn out at the opposite end. Carry 
the yarn around to the left above the loops and 
lift them with the long pin (Fig. Ill) up over 
it, allowing the loops to fall into the center. 
The yarn left around the brads will form new 
loops. Pull on the yarn at the other end of the 
spool ; this will keep the cord even. 

Pig. 112 will suggest several ways in which 
the cord may be used. 

The cotton yarn cord may be sewed into a 
square of eight or ten inches; it makes a very 
satisfactory cloth for the bath. 

The cotton strings brought from home may 
be made into a cord in the same way by tying 
the ends together and turning the knots into 
the inside o f the cord. 

The older pupils, after providing their dolls 
with Tam-o'-Shanters, may make one for them- 
selves. Caps made in this way are very satis- 
factory. 




Fig. 112.— Articles made from Spool Cord. 



J 43 



1*1*83 



1904 



LIBRARY OF CONGRESS 




II III I 

017 111 379 9 



